Johann Sebastian Bach’s ecclesiastical music slept for close to half a century. Thanks to the Berlin-based Singakademie’s work, as well as Felix Mendelssohn-Bartholdy’s revelatory performances, it once again entered into the mainstream at the beginning of the 19th century. In fact, as part of a classical canon that was just forming at the time, some of his pieces reached more people than the smalltown music director and cantor, Bach, would have ever dreamed of. In a performance dedicated to the memory of the deceased, the Pannon Philharmonic will play vocal works touching upon death and passing from two periods of the German composer: the BWV 12 and Anh. 159 pieces from Weimar, and the 157 and 229 compositions written in his earlier Leipzig days. The concert is colored by excerpts from one of his final instrumental works, the Musikalisches Opfer, which is comprised of 10 canons, two fugues, and a sonata trio, all of which Bach wrote for themes provided by Prussian King Frederick the Great.